Anouk Aimée ( born 27 April 1932) is a French film actress, who has appeared in 70 films since 1947, having begun her film career at age 14. In her early years she studied acting and dance besides her regular education. Although the majority of her films were French, she also made a number of films in Spain, Great Britain, Italy and Germany, along with some American productions.

Among her films are Federico Fellini's La Dolce Vita (1960), after which she was considered a "rising star who exploded" onto the film world. She subsequently acted in Fellini's 8½ (1963), Jacques Demy's Lola (1961), George Cukor's Justine (1969), Bernardo Bertolucci's Tragedy of a Ridiculous Man (1981) and Robert Altman's Prêt à Porter (1994). She won the Golden Globe Award for Best Actress - Motion Picture Drama and the BAFTA Award for Best Actress and was nominated for the Academy Award for Best Actress for her acting in Un homme et une femme (A Man and a Woman, 1966). The film brought her international fame.

She won the Award for Best Actress at the 1980 Cannes Film Festival. In 2002 she received an honorary César Award, France's national film award.

​Aimée was noted for her "striking features" and beauty, and considered "one of the hundred sexiest stars in film history," according to a 1995 poll conducted by Empire Magazine. She has often portrayed a femme fatale with a melancholy aura. In the 1960s, Life magazine wrote that "after each picture her enigmatic beauty lingered" in the memories of her audience, and called her "the Left Bank's most beautiful resident."

​Filmography of Anouk ​Aimée
​1946 : La Maison sous la mer de Henri Calef , Anouk
1947 : La Fleur de l'âge de Marcel Carné , Inachevé
1949 : Les Amants de Vérone de André Cayatte , Giorgia Maglia (Juliette)
1949 : La Salamandre d'or de The Golden Salamander , Ronald Neame
1951 : Conquête du froid de Jean Vidal , court métrage
1951 : Nuit d'orage Noche de tormenta de Jaime de Maroya Marcel Jauniaux , voix
1952 : La Bergère et le ramoneur de Paul Grimault , la bergère voix
1952 : Le Rideau cramoisi sketch du film Les Crimes de l'amour de Alexandre Astruc , Albertine
1952 : L'Homme qui regardait les trains The Man Who Watched the Trains Go By de Harold French , Jeanne
1954 : Forever my heart de Bernard Knowles , La femme légère épi. Happy Birthday
1955 : Les Mauvaises Rencontres, de Alexandre Astruc ,, Catherine
1955 : L'Amour ne meurt jamais Ich suche dich de O.W. Fischer , Françoise Maurer
1955 : Contraband Spain Contrabando de Lawrence Huntington Jaime Salvador , Elena Vargas
1956 : Nina de Rudolph Jugert , Nina Iwanowa
1956 : Strese-Mann de Alfred Braun , Annette Stein
1957 : Tous peuvent me tuer de Henri Decoin , Isabelle
1957 : Pot-Bouille de Julien Duvivier , Marie
1957 : Montparnasse 19 ou Les Amants de Montparnasse de Jacques Becker , Jeanne Hébuterne
1959 : Le Voyage The Journey de Anatole Litvak , Eva
1959 : La Tête contre les murs de Georges Franju , Stéphanie
1959 : Les Dragueurs de Jean-Pierre Mocky , Jeanne
1960 : Quai Notre-Dame de Jacques Berthier , l'Antiquaire
1960 : La Dolce Vita de Federico Fellini , Maddalena
1961 : Lola de Jacques Demy , Lola (Cécile)
1961 : Le Jugement dernier de Vittorio De Sica , Irène
1961 : L'Imprévu L'Imprevisto de Alberto Lattuada , Claire
1961 : Sodome et Gomorrhe ( Sodoma e Gomorra) de Robert Aldrich et Sergio Leone , la reine Bera
1961 : Le Farceur de Philippe de Broca , Hélène Laroche
1963 : Le Terroriste Il terrorista de Gianfranco De Bosio , Anna Braschi
1963 : Le Jour le plus court Il giorno più corto de Sergio Corbucci ,
1963 : Les Grands Chemins de Christian Marquand , Anna
1963 : Le Coq du village de Alessandro Blasetti ,
1963 : Le Succès Il successo de Dino Risi , Laura
1963 : Huit et demi (Otto e mezzo) de Federico Fellini , Luisa Anselmi
1964 : La Fugue (La fuga) de Paolo Spinola , Luisa
1964 : Le Sexe des anges (Le voci bianche) de Pasquale Festa Campanile Massimo Franciosa , Lorenza
1965 : Le Scandale (Lo scandalo) de Anna Gobbi ,
1965 : Les Saisons de notre amour Le stagioni de nostro amore de Florestano Vancini ,
1965 : Il morbidone de Massimo Franciosa , Valeria
1966 : Un homme et une femme de Claude Lelouch, Anne Gauthier
1967 : Vivre pour vivre de Claude Lelouch
1968 : Un soir, un train de André Delvaux , Anne
1968 : Model Shop de Jacques Demy , Lola
1968 : Le Rendez-vous The appointment de Sidney Lumet , Carla
1969 : Justine de George Cukor , Justine
1976 : Si c'était à refaire de Claude Lelouch , Sarah Gordon
1978 : Mon premier amour de Elie Chouraqui , Jane
1980 : Le Saut dans le vide (Salto nel vuoto), de Marco Bellocchio , Marta Ponticelli
1981 : La Tragédie d'un homme ridicule de Bernardo Bertolucci , Barbara Spaggiari
1982 : Qu'est-ce qui fait courir David ? de Élie Chouraqui , Hélène
1983 : Le Général de l'armée morte (Il Generale dell'armata morte), de Luciano Tovoli , la comtesse Betsy Di Brenni
1984 : Le Succès à tout prix Success is the best revenge de Jerzy Skolimowski , Monique
1984 : Viva la vie! de Claude Lelouch , Anouk
1986 : Un homme et une femme : vingt ans déjà de Claude Lelouch , Anne Gauthier
1987 : Papa et moi Arrivederci e grazie de Giorgio Capitani , Laura
1988 : La Table tournante de Paul Grimault Jacques Demy , la bergère Voix
1988 : Arriverderci e grazie de Giorgio Capitani ,
1990 : Béthune : the making of a hero ou Docteur Norman Béthune de Phillip Borsos , Marie-France Coudaire
1990 : Il y a des jours... et des lunes de Claude Lelouch , Son propre rôle
1991 : L'Amour maudit de Leisenbohg de Edouard Molinaro , Claire Hell Télévision
1993 : Rupture(s) de Christine Citti , Marthe
1993 : Les Marmottes de Elie Chouraqui , Françoise
1995 : Les Cent et Une Nuits de Simon Cinéma de Agnès Varda , L'actrice d'un jour
1995 : Prêt-à-porter Ready to wear de Robert Altman , Simone Lowenthal
1995 : Dis-moi oui de Alexandre Arcady , Claire Charvet
1995 : L'Univers de Jacques Demy de Agnès Varda , Son propre rôle
1996 : Hommes, femmes, mode d'emploi de Claude Lelouch , La veuve
1997 : Riches, belles, etc. de Bunny Schpoliansky , La fée
1997 : Salomon de Roger Young , Bethsabée
1999 : 1999 Madeleine de Laurent Bouhnik , Eve
1999 : I Love L. A. de Mika Kaurismäki , Son propre rôle
1999 : Une pour toutes de Claude Lelouch , La femme du musicien
2001 : Festival in Cannes de Henry Jaglom , Millie Marquand
2002 : Napoléon de Yves Simoneau ,
2003 : La Petite prairie aux bouleaux de Marceline Loridan-Ivens , Myriam
2004 : Ils se marièrent et eurent beaucoup d'enfants de Yvan Attal , La mère de Vincent
2006 : De particulier à particulier de Brice Cauvin , Nelly
​2009 : Celle que j'aime de Elie Chouraqui , Une consommatrice dans un café
2010 : Ces amours-là de Claude Lelouch , Mme Blum
2011 : Tous les soleils de Philippe Claudel , Agathe
2012 : Mince alors ! de Charlotte de Turckheim , Maman

Henry Clarke (c. 1918 – April 26, 1996) was an American fashion photographer, known particularly for his work for Vogue.

Clarke was born in Los Angeles in about 1917 or 1918. He died on April 26, 1996 at the Anglo-American Hospital in Le Cannet, France, at the age of 78.

​Henry Clarke est un photographe de mode américain né en 1918 à Los Angeles et mort à Cannes le 26 avril 1996, surtout reconnu pour ces images publiées dans différentes éditions du magazine Vogue avec lesquelles il sera en contrat après la Seconde Guerre mondiale durant plusieurs décennies.

​Henry Clarke est le fils d'immigrés irlandais installés en Californie. Après un premier travail d'étalagiste puis de responsable des vitrines dans des grands magasins de la côte Ouest, il décide de traverser les États-Unis pour rejoindre New York où il va découvrir la photographie. Il commence à travailler à la fin des années 1940 comme accessoiriste dans les studios photos de Vogue à New York; il côtoie Horst P. Horst, Irving Penn et Cecil Beaton. Ce dernier photographiant Dorian Leigh donne goût à Henry Clarke de se consacrer à la photographie. Il apprend à se servir d'un Rolleiflex prêté par Claire Mallison la directrice du studio, et présente ses réalisations à Alexander Liberman. Celui-ci l’envoie suivre des cours de photographie à l'université New School for Social Research, entre autres avec Alexey Brodovitch; il commence à travailler pour la presse américaine: dès 1948, ses premières photographies sont publiées dans Kaleidoscope of American Fashion, nouvelle et éphémère revue.

Durant sa carrière, il photographie les créations de couturiers tel Madeleine de Rauch, Jacques Griffe, Pucci ou Cardin plus tard. À ses débuts, Cristobal Balenciaga, en plein succès, est un couturier très présent dans les photographies d'Henry Clarke.

En 1950, Elsa Schiaparelli, Christian Dior, ainsi que Balenciaga publié dans le numéro d'avril de L'Album du Figaro, magazine pour lequel il réalisera de nombreuses photos ; Pierre Balmain avec le mannequin français Bettina la même année. Il photographie de nouveau, pour le British Vogue, Bettina habillée en Lanvin, un portrait intitulé Chapeau plume pour Balenciaga en 1953, Jean Patou pour le Vogue français l'année suivante.

Dorian Leigh dans une robe de Jacques Heim, sans doute est l'une de ses photos les plus remarquée, puis Leigh en Givenchy durant l'année 1955, Madame Grès,  Coco Chanel la même année. Suivront plusieurs photos de Dovima habillée par Jacques Fath en 1956, Guy Laroche en 1958, Givenchy, et Dior encore, en 1959…

Dior toujours, Maggy Rouff, ou Nina Ricci en 1960, puis Suzy Parker et le tailleur Chanel pour le British Vogue de la même année, et Madame Grès une fois de plus en 1961.

Durant les années 1950, les mannequins Capucine, Anne Saint-Marie, Suzy Parker, Fiona Campbell-Walter, Ivy Nicholson, Dovima, Bettina ou Victoire apparaissent régulièrement sur les photographies de Clarke. Il signe, entre autres, les couverture de juillet 1954, septembre, octobre, et novembre 1955 de Vogue. 

Il photographié Veruschka pour le Vogue britannique de septembre 1965, et Twiggy pour le couverture en France du numéro de mai 1967 de Vogue.

Pour Vogue France, il fera les portraits de Cristobal Balenciaga en 1952, Anna Magnani, Coco Chanel en 1954, Sophia Loren, Carmen de Tommaso, Cayetana Fitz-James Stuart la duchesse d'Albe, Wallis Simpson la duchesse de Windsor, Marella Agnelli, Robin Duke, Maria Callas, Anouk Aimée (1963 et 1965), ou Catherine Deneuve. Mais également  Marisa Berenson en 1968 ou Monica Vitti pour le Vogue Paris de février 1969. 

En Italie, il réalise pour le numéro de septembre 1963 la photo de la comtesse Volpi avec un guépard en laisse; Il photographie en septembre 1967 à Saint-Jean-Cap-Ferrat Elizabeth Taylor et Richard Burton, puis Benedetta Barzini en 1968 pour le Vogue américain. ​

Il fait encore une couverture pour Vogue en avril 1972. Mais en 1973, Henry Clarke s'éloigne du domaine de la mode pour photographier de grandes demeures: ses images sont publiées dans le supplément féminin du Figaro Madame Figaro, Maison & Jardin, House & Garden, Connaissance des Arts, et Vogue Paris de nouveau.

Il est en activité jusqu'en 1991, et reçoit la « Médaille de vermeil » de la ville de Paris deux ans plus tard.

Il meurt le 26 avril 1996, d'une leucémie dans la région de Cannes. Il restera connu pour ses images de femmes élégantes, sophistiquées, raffinées, féminines, le plus souvent dans des décors simples ou minimalistes et en noir et blanc, ainsi que ses portraits de personnalités. Le photographe fait don de l'ensemble de son œuvre personnelle, plusieurs milliers de documents, ainsi qu'un exemplaire du notable album, recueil d'illustrations, Les Choses de Paul Poiret vues par Georges Lepape; ses archives se trouvent au Musée Galliera à Paris.

Elizabeth "Lee" Miller, Lady Penrose (April 23, 1907 – July 21, 1977), was an American model, photographer and photojournalist. She was a fashion model in New York City in the 1920s before going to Paris, where she became a fashion and fine art photographer. During the Second World War, she was a war correspondent for Vogue, covering events such as the London Blitz, the liberation of Paris.

Childhood, New York

Lee Miller was born on April 23, 1907, in New York. Her father was of German descent, and her mother of Scottish and Irish descent. Theodore always favored Lee. In her childhood, Miller experienced issues in her formal education, being expelled from almost every school she attended. In 1925, at the age of eighteen, Miller moved to Paris where she studied lighting, costume and design at the Ladislas Medgyes' School of Stagecraft. She returned to New York in 1926 and joined an experimental drama programme at Vassar College then enrolled in the Art Students League of New York in Manhattan to study life drawing and painting..

Become model

At 19 Lee Miller nearly stepped in front of a car on a Manhattan street but was saved by Condé Nast, the publisher of Vogue. This incident helped launch her modeling career.
​
she appeared on the cover of Vogue on March 15, 1927. Miller's look was exactly what Vogue's then editor-in-chief Edna Woolman Chase was looking for to represent the emerging idea of the "modern girl."

For the next two years, Miller was one of the most sought-after models in New York, photographed by leading fashion photographers including Edward Steichen, Arnold Genthe, Nickolas Muray and George Hoyningen-Huene. A photograph of Miller by Steichen was used to advertise Kotex menstrual pads, without her consent, effectively ending her career as a fashion model. She was hired by a fashion designer in 1929 to make drawings of fashion details in Renaissance paintings but she found photography more efficient.

1929, Photographer, Man Ray, Paris

In 1929, Lee Miller traveled to Paris with the intention of apprenticing herself to the surrealist artist and photographer Man Ray but soon Miller soon became his model and collaborator, as well as his lover and muse. While she was in Paris, she began her own photographic studio, often taking over Ray's fashion assignments to enable him to concentrate on his painting. So closely did they collaborate that photographs taken by Miller during this period are credited to Ray.

Together with Ray, she rediscovered the photographic technique of solarisation, through an accident variously described, with one of Miller's accounts involving a mouse running over her foot, causing her to switch on the light in mid-development.

Amongst Miller's circle of friends were Pablo Picasso and fellow Surrealists Paul Éluard and Jean Cocteau, the latter of whom was so mesmerized by Miller's beauty that he coated her in butter and transformed her into a plaster cast of a classical statue for his film, The Blood of a Poet (1930).

1932, Photographer, New York

In 1932, Lee Miller returned to New York City and established a portrait and commercial photography studio with her brother Erik as her darkroom assistant. 

Clients of the Lee Miller Studio included BBDO, Henry Sell, Elizabeth Arden, Helena Rubinstein, Saks Fifth Avenue, I. Magnin and Co., and Jay Thorpe.

During 1932 Miller was included in the Modern European Photography exhibition at the Julien Levy Gallery in New York and in the Brooklyn Museum's exhibition International Photographers with László Moholy-Nagy, Cecil Beaton, Margaret Bourke-White, Tina Modotti, Charles Sheeler, Ray, and Edward Weston. 

In response to the exhibition, Katherine Grant Sterne wrote a review in Parnassus in March 1932, noting that Miller "has retained more of her American character in the Paris milieu. The very beautiful Bird Cages at Brooklyn; the study of a pink-nailed hand embedded in curly blond hair which is included in both the Brooklyn and the Julien Levy show; and the brilliant print of a white statue against a black drop, illumine the fact rather than distort it."

In 1933, Julien Levy gave Miller the only solo exhibition of her life. Among her portrait clients were the surrealist artist Joseph Cornell, actresses Lilian Harvey and Gertrude Lawrence.

1934, marriage, Cairo, Egypt

In 1934, Miller abandoned her studio to marry the Egyptian businessman and engineer Aziz Eloui Bey, who had come to New York City to buy equipment for the Egyptian National Railways. Although she did not work as a professional photographer during this period, the photographs she took while living in Egypt with Eloui, including Portrait of Space, are regarded as some of her most striking surrealist images.
In Cairo, Miller took a photograph of the desert near Siwa that Magritte saw and used as inspiration for his 1938 painting "Le Baiser." Miller also contributed an object to the Surrealist Objects and Poems exhibition at the London Gallery in 1934.

1940s, Photojournalist, USA, France

In 1937, Miller returned to Paris, where she met the British surrealist painter and curator Roland Penrose.

Four of her photographs ("Egypt" (1939), "Roumania" (1938), "Libya" (1939), and "Sinai" (1939)) were displayed at the 1940 exhibition Surrealism To-Day at the Zwemmer Gallery in London, and she herself moved to London to live with Roland Penrose.

When the Second World War broke out, Lee Miller returned to the US and embarked on a new career in photojournalism as the official war photographer for Vogue, documenting the Blitz.

She teamed up with the American photographer David E. Scherman, a Life correspondent on many assignments. Scherman's photograph of Miller lying in the bathtub of Adolf Hitler's apartment in Munich, with its shower hose looped in the center behind her head, resembling a noose, is one of the most iconic images from the Miller–Scherman partnership.

1947, Motherhood, second marriage, Farley Farm House

In 1946, Lee Miller found herself pregnant by Penrose, she divorced her husband Bey and on May 3, 1947 married Penrose. Their son, Antony Penrose, was born in September 1947.

In 1949, the couple bought Farley Farm House in Chiddingly, East Sussex.

During the 1950s and 1960s, Farley Farm became a sort of artistic Mecca for visiting artists such as Picasso, Ray, Henry Moore, Eileen Agar, Jean Dubuffet, Dorothea Tanning, and Max Ernst.

While Miller continued to do the occasional photo shoot for Vogue, she soon discarded the darkroom for the kitchen, becoming a gourmet cook.

According to her housekeeper Patsy, she specialized in "historical food" like roast suckling pig as well as treats such as marshmallows in a cola sauce (especially made to annoy English critic Cyril Connolly who told her Americans didn't know how to cook). She also provided photographs for her husband's biographies on Picasso and Antoni Tàpies. However, images from the war, especially the concentration camps, continued to haunt her and she started on what her son later described as a "downward spiral".

1977, death

Miller died of cancer at Farley Farm House in 1977, aged 70. She was cremated, and her ashes were spread through her herb garden at Farley.

Miller's work has served as inspiration for Gucci's Frida Giannini, Ann Demeulemeester and Alexander McQueen.​

Articles and websites

Lee Miller Archive

Books